DOCSLIB.ORG

PDF of Festival Review 2020, Here

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PDF of Festival Review 2020, Here Festival Review Liverpool Irish Festival bringing Liverpool and Ireland closer together using arts and culture. Festival Review 2020 Produced Dec 2020 Contacts John Chandler - Chair Emma Smith - Director Liverpool Irish Festival Liverpool Irish Festival +44(0) 151 722 2377 +44(0) 151 513 6640 +44(0) 776 294 3697 +44(0) 7804 286 145 [email protected] [email protected] [email protected] Company Limited No.4800736. Registered Charity No.1100126 Liverpool Irish Festival is a member of COoL; a diverse collective of key arts organisations in Liverpool, championing the arts; changing perceptions; creating possibilities. 1 Contents 2020 headline achievements ..................................................................................................................................................................... 4 Points of Pride ....................................................................................................................................................................................................................... 4 Notable activities ................................................................................................................................................................................................................. 4 Overview .................................................................................................................................................................................................................. 5 Cultivating and inspiring audiences ........................................................................................................................................................ 7 Recommendation, re-attendance and quality ratings ............................................................................................................................ 7 Recommendation rates .................................................................................................................................................................................................. 7 Re-attendance ....................................................................................................................................................................................................................... 8 Annual Engagement ......................................................................................................................................................................................... 8 Out-of-festival events and annual growth ............................................................................................................................................................. 8 Notes on audience values ............................................................................................................................................................................................ 8 Event and audience growth/developments ................................................................................................................................................... 9 Live programme build .........................................................................................................................................................................................................10 Exhibition figures ....................................................................................................................................................................................................................10 Intersectional programming ...........................................................................................................................................................................................10 Participants and audiences ............................................................................................................................................................................................11 Ticket pricing and averages ...........................................................................................................................................................................................11 Average age ...............................................................................................................................................................................................................................12 Inclusion/The Creative Case ....................................................................................................................................................................13 Notes on data collection; entry and issues with identity data ...................................................................................................... 14 Place of birth vs resident now ......................................................................................................................................................................................16 Ethnicity and nationality: audiences and artists ............................................................................................................................................. 16 Analysis – audience and artist ...............................................................................................................................................................................16 Gender: audiences and artists .....................................................................................................................................................................................18 Sexuality: audience and artists ....................................................................................................................................................................................20 Payment of artists ...........................................................................................................................................................................................21 Audience postcode analysis .....................................................................................................................................................................22 Travel and out of town stays: indicators ...............................................................................................................................................................25 2020 indicators .................................................................................................................................................................................................................25 PR: Facts Figures and Trends .................................................................................................................................................................25 Print ...................................................................................................................................................................................................................................................25 Distribution ..................................................................................................................................................................................................................................26 Social media growth summary .....................................................................................................................................................................................27 Facebook ................................................................................................................................................................................................................................27 Twitter ........................................................................................................................................................................................................................................28 Instagram ................................................................................................................................................................................................................................28 Website.....................................................................................................................................................................................................................................29 Mailchimp ................................................................................................................................................................................................................................29 2 Press achieved .........................................................................................................................................................................................................................30 Notes on press achieved ............................................................................................................................................................................................33 Testimonials ........................................................................................................................................................................................................33 Descriptors ..................................................................................................................................................................................................................................33
Load more

Recommended publications
  • Duckie Archive
    DUCKIE ARCHIVE (DUCKIE) ©Bishopsgate Institute Catalogued by Various, 2018-2019. DUCKIE Duckie Archive 1996-2018 Name of Creator: Duckie Extent: 55 Files Administrative/Biographical History: Amended from the Duckie Website (2020): Duckie are lowbrow live art hawkers, homo-social honky-tonkers and clubrunners for disadvantaged, but dynamically developing authentic British subcultures. Duckie create good nights out and culture clubs that bring communities together. From their legendary 24-year weekly residency at the Royal Vauxhall Tavern to winning Olivier awards at the Barbican, they are purveyors of progressive working class entertainment who mix live art and light entertainment. Duckie combine vintage queer clubbing, LGBTQI+ heritage & social archeology & quirky performance art shows with a trio of socially engaged culture clubs: The Posh Club (our swanky showbiz palais for working class older folk, now regular in five locations), The Slaughterhouse Club (our wellbeing project with homeless Londoners struggling with booze, addiction and mental health issues), Duckie QTIPOC Creatives (our black and brown LGBTQI youth theatre, currently on a pause until we bag a funder). Duckie have long-term relationships with a few major venues including Barbican Centre, Rich Mix, Southbank Centre and the Brighton Dome, but we mostly put on our funny theatre events in pubs, nightclubs, church halls and community centres. They are a National Portfolio Organisation of Arts Council England and revenue funded by the Big Lottery Fund. Duckie produce about 130 events and 130 workshops each year - mostly in London and the South East - and our annual audience is about 30,000 real life punters. Custodial History: Deposited with Bishopsgate Institute by Simon Casson, 2017.
    [Show full text]
  • Back and Welcome to Unity's 2021 Programme of Events
    2021 SEASON unitytheatreliverpool.co.uk Welcome back and welcome to Unity’s 2021 programme of events. We are delighted to finally be sharing Showcasing Local Talent with you some of the exciting productions With over 40 events and 100 artists and activities that form a special year already involved, our specially curated of work from Unity. reopening activities are a manifestation of this. Like everyone, our 2020 wasn’t quite the year we had planned. Originally Supporting Artists intended to be a landmark celebration This new season includes 22 of our 40th anniversary, instead we Merseyside-based creatives and found our doors closing indefinitely. companies who feature as part of The implications of the pandemic our Open Call Programme. Created and shutdown of venues across the UK to provide income and performance were serious and far-reaching, but they opportunity to local artists after allowed us to take stock and question a year without both, the Open Call our role as an arts organisation. celebrates these artists, their stories, communities and lives. What has emerged is a renewed commitment for Unity to provide 2021 welcomes a huge-new event space and opportunity for people series as part of our talent development to be creative, enjoy high-quality programme - Creative’pool. This will entertainment and celebrate the provide personalised training, workshops, communities of Liverpool. We want advice, exclusive events and development to continue to inspire creative opportunities to over 200 artists a year. risk and achieve a fairer, more supportive and accessible world. Access for All After a year of such uncertainty some of you may understandably be nervous about venturing into buildings.
    [Show full text]
  • Equality and Diversity Within the Arts and Cultural Sector in England, 2013-16
    Equality and diversity within the arts and cultural Sector in England, 2013-16: Evidence Review September 2016 Equality & Diversity: Evidence Review Contents 1 Introduction ................................................................................................................................ 1 2 Context ........................................................................................................................................ 3 3 Review Results ............................................................................................................................ 7 4 Disability ...................................................................................................................................... 9 5 Race ........................................................................................................................................... 17 6 Sex/gender ................................................................................................................................ 26 7 Age ............................................................................................................................................ 35 8 Sexual orientation ..................................................................................................................... 41 9 Gender re-assignment .............................................................................................................. 47 10 Religion and/or belief ..............................................................................................................
    [Show full text]
  • Irish Narratives: Liverpool in the 1930S
    Irish narratives: Liverpool in the 1930s John Davies By the 1930s there had been a substantial Irish community in Liverpool for over a hundred years. Irish immigration into Liverpool grew steadily from the 1 790s and expanded rapidly with the onset of famine in Ireland in the 1840s. In the late 1920s and early 1930s, years of economic depression, there was a renewed wave of Irish migration to Britain in general, and to Liverpool in particular, as migration into the United States was choked off. Relations between the Irish community, largely Catholic and poor and unskilled, and the majority community had been notoriously difficult in the nineteenth and early twentieth centuries when the history of the city was scarred by incidents of sectarian violence.1 The increase in migration in the 1930s was accompanied by growing tension between the majority and the Irish community. This article seeks to explore how the majority community in Liverpool viewed the Irish, how these views were articulated and what ‘stories’ were commonly told about the Irish. In recent years sociologists and cultural historians, referring to such ‘stories’ as ‘discourses’ and ‘narratives’, have seen them as ‘providing models of social experi­ ence’ as well as attempts to shape and control opinions.2 1 F. Neal, Sectarian violence: The Liverpool experience 18 19 -19 14 (Manchester, 1988); P. J. Waller, Democracy and sectarianism: A political and social history of Liverpool 1868-1939 (Liverpool, 1981); J. Belchem, Merseypride: Essays in Liverpool exceptionalism (Liverpool, 2000). 2 Christopher Sauer, ‘Newspaper style and Nazi propaganda’ in W. Van Peer ed., The taming of the text: Explanations in language, literature and culture (London, 1988), p.
    [Show full text]
  • Migrants and the Media in Nineteenth-Century Liverpool Colin
    Migrants and the media in nineteenth-century Liverpool Colin G Pooley Lancaster Environment Centre, Lancaster University, Lancaster, LA1 4YQ [email protected] 1 Abstract Migration is a controversial topic in twenty-first century Britain, and similar debates were equally visible in the nineteenth century with ample evidence that migrants from Ireland and Europe faced stigmatization and discrimination in British cities. Today the media plays a major role in fuelling such debates, but little is known about the impact of newspaper reporting on public perceptions of migrants in the past. This paper focuses on the reporting of cases brought before the police courts in Liverpool in 1851, 1871 and 1891 and, through the use of nominal record linkage to census data, examines the extent and manner in which migrant origin was commented on in one major Liverpool newspaper. It is demonstrated that, perhaps surprisingly, this media outlet largely ignored migrant origin in its reporting, and thus was not a significant factor in shaping public perceptions of migrants in the city. Autobiographical note Colin G Pooley is Emeritus Professor of Social and Historical Geography at Lancaster University. His research focuses on societal change in Britain and continental Europe since the eighteenth century, with a specific emphasis on migration and mobility. He has published widely including Pooley C and Turnbull J (1998) Migration and mobility in Britain since the 18th century (London, UCL Press). 2 Migrants and the media in nineteenth-century Liverpool 1. Introduction: the context Migration, and the impact of immigrants on economy, society and culture, is a topic that twenty-first century global media frequently highlight.
    [Show full text]
  • Love Is GREAT Edition 1, March 2015
    An LGBT guide Brought to you by for international media March 2015 Narberth Pembrokeshire, Wales visitbritain.com/media Contents Love is GREAT guide at a glance .................................................................................................................. 3 Love is GREAT – why? .................................................................................................................................... 4 Britain says ‘I do’ to marriage for same sex couples .............................................................................. 6 Plan your dream wedding! ............................................................................................................................. 7 The most romantic places to honeymoon in Britain ............................................................................. 10 10 restaurants for a romantic rendezvous ............................................................................................... 13 12 Countryside Hideaways ........................................................................................................................... 16 Nightlife: Britain’s fabulous LGBT clubs and bars ................................................................................. 20 25 year of Manchester and Brighton Prides .......................................................................................... 25 Shopping in Britain .......................................................................................................................................
    [Show full text]
  • Re-Presenting the City
    Re-presenting the City A Dramatist’s Contextualisation Of His Works On Liverpool Post - 1990 Andrew Sherlock A thesis submitted as partial fulfilment of the requirements of Liverpool John Moores University for the degree of Doctor of Philosophy May 2015 1 Contents Page A Personal Foreword 2-10 Introduction to the Publications – The Plays 11-14 Conceptual Roots and Practitioner Theory 15-34 Coherence and Context of the Body of Work 35-51 Analysis and Contextualisation of each Play Fall From Grace 52-62 Ballad Of The Sea 63-70 Walltalks 71-81 The Shankly Show 82-95 Epstein – The Man Who Made The Beatles 96-103 Thoughts and Findings, Arriving at a Research Methodology 104-115 Conclusions 116-120 Appendices Research Notes and Key References 121-128 Professional and Teaching Impact 129-131 References 132-134 2 A Personal Foreword Byford Street, Liverpool L7, taken in 1972, where I was born, though had left here by 1966. Born in 1964, the son of a plasterer and leaving for Leeds University in 1982, my formative years in Liverpool and deep early impressions of the city were shaped by the 1970s /80s. One of the few positive benefits of attending an under-funded, inner-city comprehensive school in Liverpool was perhaps the number of subjects and interests we attempted to cover and a resultant affinity for eclecticism.1 From sports to school plays to a terrible school orchestra, I had a go at everything and at times the loose structure meant that when I was caught out of 1 I attended Holt Comprehensive between 1975-82.
    [Show full text]
  • Sue Sanders/ Schools out UK/ LGBT History Month Archive (SANDERS)
    Sue Sanders/ Schools Out UK/ LGBT History Month Archive (SANDERS) ©Bishopsgate Institute Catalogued by Barbara Vesey, August 2017. SANDERS Sue Sanders/Schools Out UK/LGBT History Month Archive 1973-2018 Name of Creator: Sue Sanders/Schools Out UK/LGBT History Month Extent: 45 boxes Administrative/Biographical History: Sue Sanders (b 1947), Emeritus Professor Harvey Milk Institute 2015, is a British LGBTQ+ rights activist who has specialized in challenging oppression in the public and voluntary sectors for over 40 years. After studying at London's New College of Speech and Drama (now part of Middlesex University), where she received a teaching diploma, Sanders studied counselling on alcohol-related problems as well as Gestalt Therapy and contribution training. She also holds qualifications on dealing with stress and trauma. Since 1967 she has been a teacher, tutor and lecturer on women's studies, drama and fighting homophobia in schools, universities and other organisations, both in London and in Sydney, Australia. Since 1984 Sanders has worked as a management consultant and trainer for the public and voluntary sector. A former member of the LGBT Advisory Group to the Metropolitan Police, she was also an independent adviser to the London Criminal Justice Board, and is a member of the Hate Crime Independent Advisory Group for the Ministry of Justice. She was part of the National Union of Teachers LGBT working party (since 1999), a member of the Southwark anti-Homophobic Forum (which she joined in 1997) and a consultant to the Crown Prosecution Service, helping to produce national policy on prosecuting homophobic crimes effectively. In 1996 she co-founded, with Paul Patrick, a consultancy called Chrysalis which delivers training around equal opportunity issues – particularly anti- heterosexism.
    [Show full text]
  • SEA8 Geology and Sediment Processes
    DTI STRATEGIC ENVIRONMENTAL ASSESSMENT AREA 8 (SEA8) Geology and Sediment Processes Compiled by: Deborah Tyrrell Assisted by: Carolyn Voisey Other Contributors: Richard Holmes1; Colin Jacobs2; Vikki Gunn2 1British Geological Survey, Edinburgh 2Department of Geology, Southampton Oceanography Centre Contract Number SEA678_DT_data8GO Final Report March 2004 SEA8 Geology and Sediment Processes Acknowledgements In addition to the authors, many scientists and workers in the marine industry contributed references to the database and their contributions are gratefully acknowledged. Table of Contents Acknowledgements ....................................................................................i Table of Contents.......................................................................................i List of Appendices......................................................................................i List of Tables ..............................................................................................ii List of Figures.............................................................................................ii 1 Introduction..........................................................................................3 2 Geological Processes ............................................................................4 3 Methodology.........................................................................................8 4 Sources of Metadata ............................................................................10 4.1 Principal
    [Show full text]
  • Transf Rming Cities
    Wolfgang Schneider, Kristina Jacobsen (eds.) In its more than three decades of history, the European Capital of Culture initiative has become an important instrument for cul- tural urban development. The EU cultural policy guidelines apply in all participating countries-but the design varies greatly from location to location. This volume reflects the approaches in 18 countries, inside and outside the EU, that have already hosted Paradigms and Potentials of Urban Development one or more Capitals of Culture. It conveys the assessments of Within the „European Capital of Culture“ scholars from various disciplines, and from those responsible for the programme on how art and culture deal with local and regi- onal forms of transformation. W. Schneider / K. Jacobsen Schneider / K. Jacobsen W. ISBN 978-3-487-15796-2 OLMS Transforming Cities edited by Wolfgang Schneider and Kristina Jacobsen Hildesheimer Universitätsschrifen herausgegeben von der Universitätsbibliothek Hildesheim Band 40 Transforming Cities Paradigms and Potentials of Urban Development Within the “European Capital of Culture” edited by Wolfgang Schneider and Kristina Jacobsen Universitätsverlag Hildesheim Georg Olms Verlag Hildesheim Hildesheim ∙ Zürich ∙ New York 2019 Transforming Cities Paradigms and Potentials of Urban Development Within the “European Capital of Culture” edited by Wolfgang Schneider and Kristina Jacobsen Universitätsverlag Hildesheim Georg Olms Verlag Hildesheim Hildesheim ∙ Zürich ∙ New York 2019 Diese Publikation entstand in Zusammenarbeit von Georg
    [Show full text]
  • FACT SHEET: Lesbian, Gay, Bisexual and Trans Students
    FACT SHEET: Lesbian, Gay, Bisexual and Trans Students WELCOME to the University social activities. You can bring Straight Allies and of Liverpool. We hope you also get involved in LGBT people together to have a great time whilst you representing the views of discuss and raise awareness study with us. This LGBT students to the of LGBT issues within factsheet provides a brief University and the Guild of society, with an academic overview and helpful Students as well as the twist. information. If you have any National Union of Students. questions feel free to http://www.liverpoolguild.org/groups contact Student Services or /liverpool-lgbt the Diversity and Equality team. Staff and Students at Liverpool Pride 2013 For full event details visit Staff and Postgraduate the website or join the Student Network Facebook Page. You can also watch and listen to If you are the Postgraduate previous events. Student you are welcome to Watch our short film on join this network. Similar to Diversity and Equality the Student Society, this If you want to know why network organises public diversity and equality is events, social activities and important to the University, represents the views of watch this short film: staff to the University. Contact [email protected] or Supporting Homotopia 2013 visit the website (intranet) for more details. Community Engagement As well as taking part in Liverpool Pride each year, the University also works with Homotopia, the Stanley Street Quarter and other LGBT groups in the Flagship Liverpool city such as the Michael Student LGBT+ Society Flagship is a public events Causer Foundation.
    [Show full text]
  • Outburst Queer Arts Festival
    OUTBURST QUEER ARTS FESTIVAL BELFAST 15-23 NOVEMBER 2013 Event & Venue Partners Festival Director Ruth McCarthy INTRODUCTION Outburst is seven and, like all seven year olds, is getting Film Programme Cian Smyth a little more adventurous, a little more inquisitive and probably a little bit cheekier. Programme Support Niall Rea, Alyson Campbell, Michael Staley (QFT) Since the festival began in in 2007, the LQBTQ Festival Admin Tracey McDowell community here has grown in confidence and visibility and that progress is shining through in the Board of Directors brilliant talent, creative visions and emerging work that Cian Smyth (Chairperson), Hilary McCollum, Michael McCrory, we showcase this year. Darren Niven, Simon Rea, Patrick Sanders, Marie Quiery. Outburst is always a reflection of our Queer Times and our 2013 programme is no exception. We’re delighted OUTBURST Arts Festival is a company limited by guarantee No. NI603571 to present a stunning on-street exhibition challenging Registered Charity No. XT28314 our ideas around trans* representation, in addition to an exclusive performance from trans street legend and Principal Funder Funding Supported by acclaimed Antony & the Johnsons musician, Baby Dee. We explore stories around gay fatherhood, lesbian herstory, mental health and other issues that affect our everyday queer lives. We’re also delighted this year to welcome so many of our non-LGBT creative allies and friends, including Marie Jones and Martin Lynch, who have contributed to our creative queer conversation. And, as ever, Outburst is also about pure fun and entertainment. We have a sizzling hot film programme for you in partnership with QFT, lots of dancing and a Event & stunning closing event, curated by the inimitable Amy Venue Lamé, that brings together the very best queer Partners performance talent from London and Northern Ireland.
    [Show full text]